Steeped in making, Simon’s philosophy and approach is that design and making are inseparable, judging design through your hands.
With a career evolving through furniture making, studying, teaching and back into designing, Simon produces interior fit-outs and furniture to complement architectural design in some of Tasmania’s premium tourism and hospitality offers. Through this focus, Simon has developed a unique perspective and positioning in the market. He is inspired by the day to day life and the impact of a piece of furniture on its user.
Futures focused, Simon’s practice demonstrates the symbiotic relationship between location, ideas, design, materials and the making of places by combining buildings, spaces and interiors that deliver a “Tasmanian Narrative”. These narratives reflect the location, sense of place, atmosphere, and the authenticity of foods, wines, the distilled and brewed offers that are then underscored with the design, materials and experience of being there.
Now in a larger workshop, Simon is able to expand production through further employment and a more efficient, productive space. This enlarged space provides a capacity for larger “jobs”, to handle multiple projects and, importantly, have projects in varied stages of completion. The ability to combine fit-outs, with products, suites, pieces and lounge chairs to provide a portfolio of offers to the market also enables Simon to think about his business more “freely” than when operating in more confined spaces.
Futures focused, Simon’s practice demonstrates the symbiotic relationship between location, ideas, design, materials and the making of places by combining buildings, spaces and interiors that deliver a “Tasmanian Narrative”. These narratives reflect the location, sense of place, atmosphere, and the authenticity of foods, wines, the distilled and brewed offers that are then underscored with the design, materials and experience of being there.
Now in a larger workshop, Simon is able to expand production through further employment and a more efficient, productive space. This enlarged space provides a capacity for larger “jobs”, to handle multiple projects and, importantly, have projects in varied stages of completion. The ability to combine fit-outs, with products, suites, pieces and lounge chairs to provide a portfolio of offers to the market also enables Simon to think about his business more “freely” than when operating in more confined spaces.
Though the workshop has enlarged, production remains bespoke, with a crafted production positioning. Simon’s commitment to excellence in design and making is both philosophically and commercially important; this notion of excellence is tested by exhibition and peer review as well as by the market. This testing of ideas is extended by engagement in public art projects.
Simon reflects that ”Achievement of growth and excellence requires delegation and trust”. To achieve this Simon views the balance between education in design and “hands on” time in making as important. “People need time to develop thinking, philosophy and tag into the emotions that translate into great products”. To achieve this Simon is committed to the apprentice model and a connection with knowledgeable mentors – “these positions are provided in manufacturing, not in design studios; this provides context for training ready, capable people”.
Simon selects species on a fit for purpose basis. While using special timbers and veneers, he also utilises more common species of Tasmanian timbers and “Hydrowood” where appropriate. The attractiveness of the “lost resource, clawed back” is an engaging narrative and reflects his commitment to sustainability.
For some years, Simon has differentiated the “Tas Oak” species, the generic, commodity label applied to multiple eucalypt species of delicatensis, oblique and regnans, while marketed as a single timber in flooring and panelling, is able to be differentiated when used in furniture and fit-out, their differences in colour, grain and behaviour provide choices to the market.
Simon selects species on a fit for purpose basis. While using special timbers and veneers, he also utilises more common species of Tasmanian timbers and “Hydrowood” where appropriate. The attractiveness of the “lost resource, clawed back” is an engaging narrative and reflects his commitment to sustainability.
For some years, Simon has differentiated the “Tas Oak” species, the generic, commodity label applied to multiple eucalypt species of delicatensis, oblique and regnans, while marketed as a single timber in flooring and panelling, is able to be differentiated when used in furniture and fit-out, their differences in colour, grain and behaviour provide choices to the market.
All of these aspects are brought together in the conversation between the client and the designer/maker; observing and understanding the context within which the fit-out or object will be utilised and experienced by people is considered the critical value foundation to design and production.
Simon is committed to developing and applying the idea of a body of knowledge and approach that enables understanding of the context within which a “product” will be used to deliver some definition of “value” and the ability to then massage elements to introduce design that is relevant; shapes that have a purpose, spaces that have a visual and mental impact that complements its practicality.
This integration of the client conversation, the body of knowledge and the skills to transform ideas into a space and/or object that reflects the needs and expectations of others is the premise on which Simon challenges the “arts” foundation to furniture and object design and making.